A Quote by Chiaki Kuriyama
It was pretty much the way that it was when I first read it, although one exception would be that some ideas that I had were also incorporated into the script.
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We did respect [Bernard Leach], although we also were willing to challenge ideas and at least put forth our feelings about the way the pottery was run, about things that were done, about the pots we were making, etc. And we would get into sometimes some very fierce arguments. We'd be shouting at one another because of disagreements.
As a kid, I was a big reader. Books and theater were the way I understood the world, and also the way I organized my sense of morality, of how to live a good life. I would read all night. My mom would come into my room and tell me I had to go to sleep, so I would hide books under my bed. At first I had a tough time getting through novels, so I read plays, because a play is generally shorter and has all those tools for getting people hooked early on.
The difference between the first time I read something and the tenth time I read something is generally pretty profound. Even if the script is the same, just the way that I read it is different.
Man, I had a good time working on 'Grown Ups 2.' First of all, when I read the script, it is hands-down the funniest script I've ever read. It's laugh-out-loud funny.
Directors are our teachers, and I'm always craving to work with a great director. They're pretty much the first thing that interests me about a project. Let's put it this way: It'll take me a lot longer to read a script if there's no director attached.
The first thing I thought [when I read the script] was that Frasier was an intellectual at some points but also an Everyman - flawed and very insecure.
No one is really a method actor, everyone has their way of going about it, preparing for it, but method is preparation, it's what you do to prepare. So my method is to read the script. Some actors' method is to read the script a hundred times and in the doing of it, to immerse themselves in as much of the reality as possible. Me, I believe strictly in acting. If I am out of breath, I'm out of breath. I ain't running nowhere.
An eye-opening moment in my life, a very defining moment, was the first time I met Susan Sarandon [before shooting Thelma & Louise]. We were going to meet, just Ridley [Scott] and Susan and I, to go through the script and see if we had any thoughts or ideas. I was reading the script, and in the most girly way possible, meaning that if it was a line that could change or something different I'd like to see, I would think about each one and say, "Well, this one can wait till the set because I don't want to bring up too many things."
Our audience is all the girls who made Britney a huge star. Those are the girls who bought the book. I didn't read the book at first. I read the script just to see what I would think of the script and I really liked it.
If I'm a director and I read a script and I say yeah I really want to do this, I would never walk away because the deal wasn't very good - that I wasn't getting paid very much or that the chances that I would see anything on the back end were remote because of the financial waterfall and the way it's structured. I would never use that as a reason not to do something.
In the early 1970s. 1971, '72. The rooms were closing down, record labels weren't signing acoustic acts any more. Although they had been pretty much been getting out of that for some time before that.
Certain movies like 'Wag The Dog,' we used improv on every scene that we did. Pretty much, we would shoot from the script and then some stuff that we came up with in rehearsal, and then we'd have at least one or two takes where we completely went off the script and just flew by the seat of our pants.
I was raised pretty much a fundamentalist, but the one thing that fundamentalism gave to me was the love for that book and a commitment to read and study it. The difficulty is that I've read it all, I didn't skip around, I read it all, and when you read it all, you can't take it literally because you don't want to blame God for a lot of stuff that occurs in that book. There are some pretty violent scenes.
My family was big on sharing. I guess it was just the way I was brought up. Or maybe, I read those fairy tales in which one good turn elicits another. But in writing, yes, some older writers were kind to me when I was young; although some others were not.
When you tell filthy jokes as if they were all really serious, and happening all in the life of one family, it becomes a farcical situation. Imagine if you had a script that was imposed on your life - we all do in a certain way, from society, or family, the need to make money, biology, death. But you will have a certain latitude, or freedom, to read the script in your own way.
For me, the experience of making the show is very much like being in a novel. I enjoy getting the new script. I make a cup of tea and I read it the same way I would read a book, with the same amount of joy.
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